The producer of Warner Pioneer was still recalling the coincidence he mentioned, but Shinichi Iwahashi turned the topic back to what he mentioned just now, "You have also said that times have changed, so the unchanging covers are not feasible."

After going around like this, the initiative in the words completely fell into Shinichi Iwahashi's hands.

It's really thief... The producer who was led by him silently thought in his heart.

Shinichi Iwahashi, who pretended to be ignorant, could not feel the producer's idea at all and said, "Since the times have changed, then let's re-arrange the old songs in the new era."

When Nanshaori released "17 Years Old", the Japanese music style was relatively simple. From the perspective of people in the 1980s, the arrangement was also very simple. If you really want to talk about it, if you take it out again, it might make people think like "I really miss it~" or "so rustic~".

Keep pace with the times, and the same goes for covers.

The so-called attention to skills is reflected in this place.

At this stage, Japanese pop music has begun to use electronic synthesizers, powerful chords and keyboard rhythms in arrangements, which also constitute a part of the pop music at this stage.

Of course, Japanese people regard this as the golden age. In this era, a pop music called "citypop" was born, a combination of funk, jazz, aor and other elements, characterized by a hazy artistic conception and a smell of drunkenness today, especially suitable for pop music played with car audio.

In Tokyo, disco halls sprouted like mushrooms after a rain.

Akimi Ishii defeated Nakamori Wushuangna with a cover dance music "cha-cha-cha" and won the singles chart. Ogino Meyoko became famous by singing European dance music. At this stage, idol songs have more or less begun to bring dance elements. When Shinichi Iwahashi decided to regard the band as his future goal, the dance style is also flying rapidly in the music industry. The idols who are heading for decline have relied on this new popularity to continue their lives.

The bigger the bubble, the happier the dance. The happier the dance, the happier the dance, the happier the person is sent to the clouds by the bubble.

Electronic synthesizers that have been used in Japan since the 1970s have become an indispensable magic weapon in recording studios today.

The era of being so unreal that it is so unreal, it has a subtle match with the dreamy and illusory electronic music.

"Rearranging it and making it more in line with the current popularity is tantamount to reincarnation," said Shinichi Iwahashi.

Not only that, the seventeen-year-old "17 Years Old" created an idol era. After seventeen years, it was re-production in the current way, which has a little more inheritance and innovation than a simple cover.

The purpose of deliberately distracting the topic and pulling it back is not just to set up a maze for Warner Pioneer. It is necessary to first propose the coincidence about "17" to facilitate the explanation of his plan.

Choose this year of coincidence and re-release this song in this way...

"It's worthy of being Iwahashi San," praised the producer of Warner Pioneer.

After the planning meeting was completed, roughly after the excitement was completed, the next meeting, as a singer, Chiri Mori Takaya attended with his agent.

Shinichi Iwahashi asked a confirmation question, "Does Morigao know about Nansaori?"

Mori Takashi's answer was not surprising, "Yes."

Although Nanshaori has retired for ten years, when she became popular, Mori Takashi Chiri happened to be a six or seven-year-old child. At this age, she was in the idol era and was encouraged by adults to imitate popular idols. She probably did a lot of things like this, maybe she even sang "17 Years Old".

Being encouraged to imitate idols and jump and cheer up for fun, in this era, for little girls, it is similar to "girls want to play with dolls".

"That's it," the communication was laid out, with Warner Pioneer's executive producer announcing her the production plan for the next single, "As for the next single, I want you to sing Nansha Orisan's "17 Years Old."

Although she was also allowed to attend the meeting, the significance of the notification was greater than the significance of discussing with her.

After hearing this, Mori Takarachi subconsciously glanced at Shinichi Iwahashi.

She had known for her long time that the new single was continued to be entrusted to genzo. Since that was the case, she decided to cover Nanshaori's "17 Years Old", which was his idea.

After the executive producer announced the matter, Shinichi Iwahashi took over and explained to her.

Once a sense of trust is available, it will make people let go of their guards, and Morika Qianli is no exception. She listened carefully.

...

Deciding to cover the project is just the first step.

Next, before formally formulating the production plan, we must first communicate and negotiate with Nanshaori’s record company.

Singers who officially debuted must considerate themselves and obtain the approval of the record company if they want to cover old songs as the main theme of the new single.

Using the copyright system to pay money to cover the music association directly, that is something that only underground musicians and cover albums that cannot be used on the table will do.

The communication and negotiation process is usually very smooth, and few companies will get stuck in such matters. Nanshaori's record copyrights are all in CBS Sony, and CBS Sony's copyright management after retirement is fully responsible for this. Shinyi Iwahashi has confirmed in advance.

In addition to seeking the consent of the record company, because it involves adaptation, we still have to communicate with the songwriter and the original singer of the song and say hello.

Japanese songwriters attach great importance to their own creation. Even the first original singer to sing, there have been more than once because the singer changed a sentence in the lyrics in his concert or TV program, and the lyricist came to him and even asked the singer not to sing the song again.

In the end, the only way to resolve the problem is to go to the local area to get off the ground and ask for forgiveness. Otherwise, the song will be permanently sealed, and the worst will be a lawsuit.

This strict industry unspoken rule is better than respecting the achievements of creators to say that it has developed to the point where such rules are used to demonstrate the authority behind the black-clothed behind the scenes.

From this kind of place, we can also feel that singers who do not have the ability to create a creative approach are actually always in the position of being ordered.

In the idol era, the packaged idols need to rely on other people's songs to survive, because in this way, they dare not offend creators. Even if they receive inappropriate songs, they will pinch their noses and accept them.

A few idols who are independent of their careers have the courage to refuse, of course, they also have the confidence to refuse.

For example, Nakamori Wushuangcai is one of the idols who dares to reject famous artists’ offerings.

Rejection is reasonable and well-founded, and you can also choose a more suitable song after rejection. Only in this way can you have the confidence to refuse.
Chapter completed!